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Casting Tools for Casting Directors and On-Camera TalentTue, 14 Aug 2018 20:06:42 +0000en-UShourly1http://wordpress.org/?v=4.2.2How to Craft an Eye-Catching Resume by Thinking Like a Casting Directorhttps://www.nycastings.com/how-to-craft-an-eye-catching-resume-by-thinking-like-a-casting-director/
https://www.nycastings.com/how-to-craft-an-eye-catching-resume-by-thinking-like-a-casting-director/#commentsFri, 10 Aug 2018 18:22:23 +0000https://www.nycastings.com/?p=14270As actors we spend a lot of time honing our skills. We spend countless hours working on scene study, memorizing new monologues, submitting for work and taking classes – and that’s as it should be. These are the talents we need to have in order to do the job. But what about what we need […]

]]>As actors we spend a lot of time honing our skills. We spend countless hours working on scene study, memorizing new monologues, submitting for work and taking classes – and that's as it should be. These are the talents we need to have in order to do the job.

But what about what we need to do in order to get the job in the first place?

Yes, you'll see lots of talk about headshots. They are of course a vital tool in getting yourself into the audition room for that coveted callback. But another, often overlooked tool of the trade most of us could spend a little more time working on is our resume.
The humble actor's resume is often treated as an afterthought. After all, acting and getting cast as an actor starts off as a visual thing; 99% of the time, the first moment casting directors, directors and producers become interested in you is from what they see in your headshot. Like it or not, we are a “swipe left/swipe right” society, and visuals are vital.
But don't forget: this isn't Tinder. They're going to be looking at your resume too – and oftentimes a good resume can be the make-or-break difference between you or a different actor getting called back or even booking the role. It all depends not only on what is on your resume, but how you present it. Here are a few ways to make sure you've got the resume that pops, the one that seals the deal for you and books you the job!

1. Don't Worry If It's Thin

A lot of times actors just coming out of school or just getting started later in life feel weird about submitting with a resume that doesn't have much on it. Well, here's the thing: we all gotta start somewhere! There are three general things most casting directors are thinking about when it comes time to cast: do you have the right look, do you have the right skill set, and do you have the experience (credits). Generally speaking, they look at these three criteria in that order. If you have the right look and you can demonstrate that you have some basic skills and the ability to take direction, sometimes having a ton of experience isn't that important. So, no matter how tempting it is, do NOT attempt to puff up a resume with a whole lotta nonsense. Recent graduates, no one needs to know every single class you ever took in theater school. No one needs to know your self-assessed skill level at every type of dance class you've ever taken, or every type of combat. Trust what experience you do have, and understand that the blank space on the resume can actually be your friend – in fact, it draws the eye to what you have done.

2. Don't Throw Everything at the Wall

Sometimes it's not just beginning actors, but those with a little more experience who think it's necessary to get every single project they've ever been involved with on their resume, no matter how long ago it was, how obscure it was, or how trivial their part in the project was. Yes, there are no small roles, but maybe there are some you can leave off your resume. Here's where we can start thinking like a CD: if you were the casting director, what would you be looking for on an actor's resume? Say you're casting a comedy television show in which you need an upscale suburban family. Does it really matter if one of the actors has listed on his resume that he played Murderer #2 in a stage production of Macbeth 15 years ago? If there isn't some well-known name you can drop, it probably only serves to clog up your resume. Even if there is some funny story or interesting anecdote associated in your mind with the experience you had in murdering Banquo all those years ago, you're not going to have an opportunity to go over your resume line by line with the CD and explain every detail. Take some time to go through your resume and cut out some of the dead wood, agonizing though it might be. If these experiences aren't going to to sell someone on hiring you for your next job, they're better left as tales with which to regale your actor buddies over a beer.

3. Be the Puzzle Piece

A lot of casting directors I talk to use the metaphor of putting together a puzzle when it comes to casting a project. They're looking for a puzzle piece that fits exactly to the director's vision, not someone that's “close enough.” But you gotta let them know you're the right one for the job, that you're the ONLY right choice. So if you're a ukulele player who is submitting for a role in an ad for the Hawaii Board of Tourism, great! Thing is, if your relevant skills are buried under a whole lot of irrelevant stuff that you're using to pad out your resume, the CD might never even realize they've got the perfect ukulele-playing puzzle piece right in front of them. This is a big mistake even experienced actors often make: they tend to over-fill general resumes with really old, really irrelevant and really obscure roles that aren't going to mean anything to the casting team. Again, your goal here is to make an impact on the people who are making the decisions, and to make it easy for them to make the right decision – which is casting you!

4. Be Special

Speaking of special skills, these can make a huge difference when it comes to booking the role or not, and you should put some thought into what kind of picture you're trying to present. For one thing, having a passport or a driver's license really isn't all that special. Leave it off. Second, don't lie. The humiliation – not the mention the costs you could accrue to the production – by claiming to be highly skilled at something when you're not simply isn't worth it. But do make sure that truly special things you can do and interests you have are highlighted – especially ones that are relevant to the production.

5. Don't Be a General

Look, we get it. Typing up and keeping your resume updated is not the sort of activity most of us got into the acting game for. It can be tedious and even nightmarish for those who aren't terribly skilled with using various text editors. That's why you might hate what's coming next, but it's the simple truth: depending on what kind of roles you're going to submit for, you need to have at least one or two resume templates ready to go. Have your general resume at all times – the one where you cover the highlights of most everything you've done, whether it be stage, commercial, film or television. This will be the resume you have on hand to give out if you bump into someone you know from the industry who just happens to be casting a project. But you also need to create resumes specific to the types of pieces you're aiming for, ones that highlight your commercial or film experience, for instance. If you're trying to get television roles, having the top two-thirds of your resume filled with stage work isn't going to help make your case. Luckily, there's an easy way to update and change your resume, as well as format it in a way that's clean, easy to read, and clear.
NYCastings has a great resume feature, where you can easily upload your information, and which will seamlessly allow you to update and add new experience as it comes along. Video and Audio reels are a breeze to upload and show immediatly. You can also print it out directly from the site, so you'll always have the latest, most updated information when you go to audition. Plus, if you need to switch the emphasis from being a stage belter to showing your skills and experience working with the nuances of small screen acting, it's never been easier to do so than with the NYCastings template. Just swap out the relevant info, print, and go!

NY, LA, ATL, Chicago, LV, Nashville

]]>https://www.nycastings.com/how-to-craft-an-eye-catching-resume-by-thinking-like-a-casting-director/feed/0The #1 Reason why people don’t get an Auditionhttps://www.nycastings.com/the-1-reason-why-people-dont-get-an-audition/
https://www.nycastings.com/the-1-reason-why-people-dont-get-an-audition/#commentsWed, 04 Oct 2017 16:15:57 +0000http://www.nycastings.com/?p=10699You know that old saying ‘I was at the Right Place at the Right Time’? Well, the right place at the right time in Show Business is the Casting Room for the Audition. And the #1 reason why Actors or other types of talent don’t get as many auditions as they like is they simply didn’t know about […]

]]>You know that old saying 'I was at the Right Place at the Right Time'?
Well, the right place at the right time in Show Business is the Casting Room for the Audition.
And the #1 reason why Actors or other types of talent don't get as many auditions as they like is they simply didn't know about the audition to begin with...
If you didn't know about the audition, you certainly didn't submit yourself, so the Casting Director (or Director, Producer or Photographer) overseeing the project never got the chance to consider you for the job.
So, that means you clearly weren't at the right place at the right time, but the good news is, it's such an easy fix.
First, here is how the casting process works most of the time for gigs that are not requiring Celebrity Talent: When a project starts casting, the Casting Breakdown is sent out to various Casting Services and Casting Websites. Once that happens the Casting Team is expecting submissions to come in right away and they start looking over everyone and making choices. Additionally they will call Talent that they have worked with in the past that will be a good fit for the project. This is the #1 Best Reason to get called in and probably yields the best change of getting the gig. Lastly they may also search the databases of these same services for more options, but usually only if they are not seeing the right people though the incoming submissions. The reason being: searching the databases is far more time consuming. When they reach out to the talent out of the blue, they have to explain the project, then send an email with all the info about the project and themselves, and hope the talent is available and willing to do the project. All to often it ends in a no-go for any number of reasons - not available for casting or shoot dates, not enough pay, wrong skillset, etc..
So, the Direct Submission to the Casting Notice is the way they're seeing most people most of the time for your garden variety jobs. Now, Back to Knowing about the Auditions:
I find myself wrapped up in conversations often with people who say they aren't getting many auditions. So, when I'm in these conversations, I basically start asking the same list of questions to get to the core reason of WHY this person isn't getting in the Casting Room.
After hearing them out I start my line of questions:
Well, are you looking though all the auditions that come in through NYCastings Every Day?
The Common answers from these people is often: 'No' or 'Sometimes' or 'Once'
Anything other than 'Yes, I look through them every day' means you're missing out on knowing about the auditions. (Most projects are only up for a few days, then their gone.) And If you know about them, the next step is making your submission to the Casting Director.
Next I say, 'Well, why not look for auditions everyday as part of your daily routine?!?
The Common answers are: 'I don't have the time for all that', 'I don't think it works' or 'I have an agent, I let them do all that.'
1. For the 'I don't have time for all that' people, I say, 'It doesn't take more than a few minutes every day to see all that is casting, and make your submissions. So, you could just start with that and things should pick up right away.
If you haven't already done so already, make it easy for yourself, Join the Mailing List for Casting Notices, Set up Customized Casting Alerts for Your Type and Area, and Make sure your Resume is set up and looks as amazing as possible, so you can submit yourself whenever you see somthing your right for.
2. For the 'I don't think it works', I say 'Look at our Top Bookers, they work hundreds of days a year from the same Casting Notices that you can be submitting to. Example:
[embed]https://youtu.be/bUWER_xbKf8[/embed]
3. For the 'I have an agent, I let them do all that' people, I say, most Actors that I know, tell me that they get more work for themselves than what their agents get. Now this situation can vary greatly based on the individual and agent, but there is still far more work out there that an individual agent does't know about or doesn't care about. And it's totally possible the agent isn't even submitting you much or at all. So if you want more work, you start looking for auditions yourself, AND also look for other agents to work for you.
Now, just knowing about the audition, and submitting to the casting notice is just STEP 1 in solving your 'lack of auditions' problem. You still have to WOW the Casting Directors, with great Pictures, Resume & Reels to get the actual audition - pending on the importance of the job of course.
And also of Great importance, is you should only be submitting to Roles, that are a very good fit for your type, and skills. If you are just submitting to anything and everything you see, this will backfire on you in terrible ways! You will look like a time wasting jackass that doesn't bother to consider what the casting director was actually looking for. You will make a bad name for yourself that may be unrecoverable, so please use good common sense.
We'll cover more of the complexities of submitting in future stories.
The bottom line is you have to take out all the roadblocks to success 1 thing at a time. Knowing about the auditions is the first and by far the biggest problem by volume that I have seen with actors. Solve this and you can move onto the next roadblock, which is Getting the actual audition.

]]>https://www.nycastings.com/the-1-reason-why-people-dont-get-an-audition/feed/0Non-Union? Maybe. Union? Possibly. Fi-Core? Hmmm… Tell me More!https://www.nycastings.com/non-union-maybe-union-possibly-fi-core-hmmm-tell-me-more/
https://www.nycastings.com/non-union-maybe-union-possibly-fi-core-hmmm-tell-me-more/#commentsTue, 19 Sep 2017 17:00:56 +0000http://www.nycastings.com/?p=10615Every actor is aware of the union or non union dynamic that is always at the forefront of every performer’s career. But one option that flies under the radar most of the time is the Financial Core Status, or also known as Fi-Core. In a previous article, Union Or Non-Union – we weighed the options in choosing […]

]]>Every actor is aware of the union or non union dynamic that is always at the forefront of every performer’s career. But one option that flies under the radar most of the time is the Financial Core Status, or also known as Fi-Core.
In a previous article, Union Or Non-Union - we weighed the options in choosing union or non union status for your acting career and got down to the most important aspects of that decision. But today in this article, I’m going to give you an in depth look into a third option that you have when figuring out if SAG-AFTRA is the right fit for you. Like union status, Fi-Core is definitely a choice for those who are monetarily ready to make the investment. But it also offers actors the pleasure of basically working both union and non union projects. This opens up your opportunities to act to a very high degree, but it’s important to be completely educated on what you’re getting yourself into.
Over the years I’ve spoke with actors, who are Fi-Core, and they absolutely love it. One in particular, Ian Roberts, an actor/stuntman most notably known for his work in Superman Returns, once told me on the set of our indie film, “Fi-Core offers me the choice to not pass up a great creative opportunity that may have non-union status. When it comes to working as an actor, I want my options to be unlimited.”
Actor, master improviser and host, Ben Hauck is another who preaches the benefits of the financial core status. Ben has been highly successful in this industry and is just as knowledgable as he is successful. As stand-in for John Oliver in HBO's "Last Week Tonight," he was honored in 2016 by the Television Academy for his contributions to the variety talk series. Ben holds a BFA in Acting from Otterbein and won the 2013 Emerging Artist Award for his trademark "improvised sermons" at the Unscripted New York Improvised Theatre & Film Festival. Author of the book "Long-Form Improv"(Allworth Press), Ben is internationally known as a teacher of long-form improvisation, having taught and directed long-form improv in New York City, Toronto, and London. He is also the host of "The Acting Income Podcast” on iTunes. This podcast covers topics related to earning an income as an actor as well as multiple episodes on the topic of Fi-Core. The awesome thing about Ben is that he has made it his passion in some ways to advocate actors when it comes to joining Fi-Core. After speaking with him recently, I’m excited to share the wisdom he relayed on the subject.
“Financial core status is a right guaranteed by the United States Supreme Court to pay a labor union only for collective bargaining and related activities. The financial core worker is able to work on union jobs while paying to the union an "agency fee," which is essentially dues payment that is smaller than what full members pay.
The financial core worker also does not have to obey union member rules, insofar as they keep up with their agency fees with the union. One rule SAG-AFTRA has is Global Rule 1, which is the requirement that members have to work only for signatories. When you are financial core, you do not have to obey that rule, which translates to the ability to work both for union signatories as well as for non-union productions. I've put together a workbook on financial core status that you may be interested in reading, which is available here: http://ficorecentral.com/workbook."
This is definitely a viable option to at least learn about, at this point, if you’re not ready to make a commitment. Some people will have different opinions as to what’s the best route for you, but you owe it to yourself to always look into things thoroughly. Ultimately, our objective as performers is to make the move that gives us three things: 1) We’re continuously challenged as an actor and can experience consistent growth in our craft and the business side of things. 2) We’re provided with unlimited creative income opportunities that not only support our careers, but our lives. 3) We’re provided with several choices that readily enable us to enjoy what we love to do, act. By factoring in all three of these components, the choice becomes easier in discovering which option is the best for you.
All in all, you owe it to yourself to look into the Fi-Core status.

]]>https://www.nycastings.com/non-union-maybe-union-possibly-fi-core-hmmm-tell-me-more/feed/0Michael Caine Teaches Acting In Filmhttps://www.nycastings.com/michael-caine-teaches-acting-in-film/
https://www.nycastings.com/michael-caine-teaches-acting-in-film/#commentsThu, 31 Aug 2017 18:56:27 +0000http://www.nycastings.com/?p=10515“The theatre is an operation with the scalpel, I think movie acting is an operation with the laser.” Michael Caine teaches in this documentary the art of movie acting to five young actors, who perform scenes from “Alfie”, “Deathtrap” and “Educating Rita”. He talks about how to perform in close-ups and extreme close-ups. He warns […]

"The theatre is an operation with the scalpel, I think movie acting is an operation with the laser."

Michael Caine teaches in this documentary the art of movie acting to five young actors, who perform scenes from "Alfie", "Deathtrap" and "Educating Rita". He talks about how to perform in close-ups and extreme close-ups. He warns about the continuity dangers of smoking cigarettes or fiddling with props. He talks about screen tests, special effects, men who are cavalier about your safety and speaking to someone who is off camera. The movie camera is your best friend and most attentive lover, he says, even though you invariably ignore her
(BBC 1987)
Published by: FilmKunst
Published on Nov 5, 2013

]]>https://www.nycastings.com/michael-caine-teaches-acting-in-film/feed/0Different Types Of Theatre Productionshttps://www.nycastings.com/different-types-of-theatre-productions/
https://www.nycastings.com/different-types-of-theatre-productions/#commentsThu, 11 May 2017 17:18:57 +0000http://www.nycastings.com/?p=9280There’s more to theatre than just someone enacting something on the stage. There are different kinds of theatre productions that cover different types of themes and styles. Whether you’re planning to start your own theatre project are looking to get into theatre as a form of entertainment, it would help to know the following kinds […]

]]>There’s more to theatre than just someone enacting something on the stage. There are different kinds of theatre productions that cover different types of themes and styles. Whether you’re planning to start your own theatre project are looking to get into theatre as a form of entertainment, it would help to know the following kinds of theatre productions.
Musical
Musicals are plays that are performed in completely in song and dance form. Musicals were made immensely popular by London’s West End to New York’s Broadway theatre.
Fringe Theatre
Fringe theatre is a form of theatre that is experimental in its style and narrative. One of the highlights of fringe theatre is that it’s pretty frugal in nature – in terms of technicalities, production value etc. In its earlier days, fringe plays were held in small scale theatres and little rooms above pubs. Often, these kind of plays are also full of edgy and unconventional stories, led by one person and wrapped in a single act. This helps a fringe play stay low cost and have multiple showings in one day.
Immersive Theatre
Immersive theatre is perhaps the most interesting and interactive form of theatre there is today. Unlike conventional forms of theatre, where the line of communication is just one way i.e. performers to audience, in an immersive theatre, the audience too plays an active part in the performance, in however small a way it may be. This kind of play transcends the limitations of venue, narratives and flow of a story. The play may be staged in a dilapidated building; it may be set up as a treasure hunt across town or may even usher the audience from room to room. The audience is also involved in the plot movement – i.e. a member of the audience may be asked a question or to choose between two doors. It’s like watching a film in 3d, but even more experiential.
Melodrama
Melodrama is a form of theatre wherein the plot, characters, dialogues are all exaggerated in order to appeal directly to the audience’s emotions from the very beginning. Orchestral music or songs are often used to accompany the scenes or to signify specific characters. This form of theatre was most popular during the 18th and 19th century.
Autobiographicals
Autobiographical plays are, as the name suggests, plays told from a first person perspective. The lead walks (or talks, for that matter) the audience through his life and its many moments. Autobiographicals can either be a solo play or a multi-character play.
Comedy
Now, don’t we all know what a comedy play is! Comedy plays could cover various themes spanning satire, malapropisms, characterizations, black comedy and so on. Shakespearean plays explain that if a play has a happy ending then it’s a comedy, but over the years, comedy has come to denote so many other things – one of them being conveying a social message to the audience in a more palatable format.
Tragedy
Tragedy play is based on human suffering and emotionally painful events. These plays have evolved from Greek tragedy plays that focused on a single theme and plot, to its present day form that tackles multiple themes, storylines and sub-plots. Earlier tragedy plays chronicled only the royalty and people in places of immense power, however over the course time they have become the stories of the common man’s struggle.
Historic Plays
These plays are based on a historical narrative – they are either an enactment of a historical event or personality, or an adaptation of the same. This genre has been best defined by William Shakespeare’s plays like Julius Caesar and Henry IV. Farce
Farce is a variation of comedy, wherein the play uses absurd and exaggerated events in the plot. A farcical play is loaded with ridiculous and highly preposterous elements; in such a play the character sticks out like a sore thumb from his surroundings. It can be said that farce mostly relies on slapstick humour.
Solo Theatre
Again, like the name suggests, solo theatre is led by only one actor. These plays could be anything, from comic acts to theatrical representations of poetries and stories. This style of theatre stems from the rich and ancient history of oral storytelling present in almost every culture for a thousand years, where people gather around one person who enacts out the whole story (including multiple characters). What makes solo plays so interesting is the fact that actor has to make sure the act does not get boring or monotonous for the audience; s/he has to keep adding different strokes and shades to his performance. Internationally, Sir Patrick Stewart has enacted all 43 characters of Charles Dickens’s novel A Christmas Carol (which is the only novel to be turned into a Solo act).
Epic
An epic is often mixed up with a tragedy play, although both are completely different concepts. In an epic, the focus is less on making the audience identify with the characters on stage and more on bringing out the connection with the setting of the stage. Epic theatre is more about scale, and it relies on making people react to the story more rationally than emotionally.
See what Theatre Productions are casting now

]]>https://www.nycastings.com/different-types-of-theatre-productions/feed/0Physical Warm-Ups for Singershttps://www.nycastings.com/physical-warm-ups-for-singers/
https://www.nycastings.com/physical-warm-ups-for-singers/#commentsMon, 08 May 2017 14:45:36 +0000http://www.nycastings.com/?p=9153I always like to remind singers that in order to optimize your warm-up routine, you must warm-up your entire body. Your body is your instrument, and the way you treat it has an impact on your breath, tone, and technique. The exercises below will help ease tension and allow for vocal freedom. Practice these exercises […]

]]>I always like to remind singers that in order to optimize your warm-up routine, you must warm-up your entire body. Your body is your instrument, and the way you treat it has an impact on your breath, tone, and technique. The exercises below will help ease tension and allow for vocal freedom. Practice these exercises in front of a mirror and watch your posture!
Jaw & Tongue Stretch
The jaw and tongue are extremely important and often a source of major tension.

Open your jaw is if you were yawning. Make sure you are dropping it towards your neck and chest, not forward. Place the tip of your tongue against the roof of your mouth. Feel the stretch and hold for 5 seconds and gently close. Repeat 4-5 times.

Allow your jaw to slightly open. Use 2 or 3 fingers to gently massage from the corner of your mouth back towards the ear in a circular motion. Continue for a few minutes until you feel a release of muscle tension.

Once again, open your jaw as if you were yawning. Stick out your tongue as far as it will go and feel a gentle stretch. Hold for 5 seconds and slowly allow your tongue to fall back into your mouth. Repeat 3-5 times.

Neck and Should Stretch

Drop your chin to your chest as you slowly inhale. While exhaling, allow your head to drop a little further. Repeat several times until your neck will no longer extend forward. Hold and feel the stretch at the back of your neck muscles. Gently raise your head.

Allow your right ear to drop to your right shoulder as you slowly inhale. While exhaling, allow your ear to drop further. Repeat several times and gently raise your head. Switch to your left ear and repeat the same steps.

Drop your chin to your chest and gently roll your head slowly to the right and then to the left. Repeat 3-5 times.

Spread your feet shoulder length apart and bend over at the waist allowing your arms to hang down. Feel the stretch in the back of your thighs and focus on your breathing. This is a great position to feel expansion in your ribcage and back. Take 10 low breaths and slowly roll upright.

Stand or sit tall and relaxed. Close your eyes and focus on your breathing. Slowly inhale and exhale, making sure the breath is low and supported. Relax and release any left-over tension.

Gently shake out your entire body starting from your head all the way down to your toes. Allow your muscles to feel like Jell-o. When finished, stand tall and check your posture in the mirror. Do you feel more relaxed?

These few simple exercises are a great way to start your warm-up routine during a practice session, before an audition, or before a performance. Remember, the more relaxed you are, the more relaxed your voice will be.

]]>https://www.nycastings.com/physical-warm-ups-for-singers/feed/0Skype Auditions – Advice on how to rock them!https://www.nycastings.com/skype-auditions-advice-on-how-to-rock-them-2/
https://www.nycastings.com/skype-auditions-advice-on-how-to-rock-them-2/#commentsFri, 05 May 2017 11:19:00 +0000http://www.nycastings.com/wpblog/skype-auditions-advice-on-how-to-rock-them-2/Reinventing the term “Casting Couch” – Skype now brings auditions directly to your living room! That’s right! The free online service that lets you video chat with your friends across countries is now being used by entertainment casting companies. The basics of these auditions are simple enough – you dial up via Skype and use […]

]]>Reinventing the term "Casting Couch" - Skype now brings auditions directly to your living room!That's right! The free online service that lets you video chat with your friends across countries is now being used by entertainment casting companies. The basics of these auditions are simple enough - you dial up via Skype and use your webcam as the capture device. But what does it take to present yourself in the best light, with only one take, because your audition is live?To help actors learn more about this new form of auditioning, NYCastings sought advice from a casting director who uses this technology all the time - as well as from working actors who have Skyped and lived to tell about it.First up... Tara-Anne Johnson, CSA With over 15 years experience as a Casting Director, Taraâ€Anne started her entertainment career as a talent agent in Los Angeles. From That 70s Show to 3rd Rock From The Sun, Taraâ€Anne's resume currently spans all genres of film and television, including scripted comedies, feature films, commercials, reality television, celebrity booking, and nationwide searches for new musical talent.In 2005, Tara-Anne and her business partner Christine Scowley formed Bizzy Blondes Entertainment, naturally segueing into creating and developing their own television projects around the countless new faces they've discovered throughout the years.Q: When have you used Skype for auditions?We use Skype for people that are not in Los Angeles (and therefore not able to come in and audition/interview in person.) We like to be able to "see" the person/people auditioning as it helps us communicate with them better. Since "face to face" isn't possible with out of towners, Skype is the closest to "face to face" we can get.Q: Should an actor / person audition for Skype any differently than in person / is there anything they should take into consideration?When Skyping, 99% of the time they will also be recording their side of the audition/interview. So the computer and camera are set up like I am right there in front of them with the camera next to me. Two things to consider when preparing for a Skype audition:1) Since you are responsible for the recording, you have to do a test-run and be sure your video quality is decent, in particular the lighting, and also be sure your sound is working properly.2) You have to realize that because we are not literally sitting in front of you, be careful you keep up the same energy you would as if we were right in front of you. Sometimes people's energy level sinks over Skype and therefore affects their audition/interview.Q: You also have people tape their side of the Skype audition. Why?They have to record their side of the Skype because they will then send us a link of the recording. We download these links into our casting system and that is how they are presented to our producers for further consideration.Q: does the quality of the taping / Skype time come into play in landing the role/spot?Quality of the taping doesn't necessarily cause you to not land a role/spot; however, it can cause you to be presented in a way that isn't your best self. Imagine bad sound and you're supposed to be singing. Or bad lighting and we can't tell what you look like. That said, if we see potential in you and your video quality is just mediocre, we often will have you re-record yourself if it's not a good enough quality to present to our producers.Q: Where should the Skype session take place?Location (and/or background) will depend on the project you are auditioning for. We let people know ahead of time where to record themselves. Most often it is in a family room type setting.Q: is there anything you learned from Skype auditioning that could help actors do them better, or differently?And now for some wise words from the brilliantly talented...Veronika Dash - ActressVeronika Dash has recently graduated Magna Cum Laude from the prestigious University of Southern California with a Bachelor of Arts degree in Theatre. Upon graduation, she has become bicoastal traveling between New York City and Los Angeles to work on upcoming projects, pilots and films. Recent work includes a co-star role in For A Good Time Call(w/Justin Long), a supporting role in Dumb Girls for MTV, principle work for The Onion News, and a lead in a play called Scottish Spermthat's playing at Montreal's Zoofest.Q: How do you feel about Skype auditioning?In my opinion, Skype auditioning is bitter/sweet. On one hand, I think it gives actors a great opportunity to audition for a project even if they aren't in town (or even in the country). But on the other hand, it becomes a far more impersonal experience and you lose that instantaneous connection you typically have when you read live with casting directors present in the room. I've heard many casting directors say they know whether or not an actor is right for the role as soon as they walk through the door, but with Skype auditions the experience is limited to just an image on their computer screen.Q: Do you audition for Skype any differently than in person / is there anything you take into consideration?Absolutely. As an actor, you have to be aware of what you're auditioning for because the project will indicate what your wardrobe looks like, what kind of make-up you should have etc. When I have an on-camera audition, I know I need to make sure I wear a color that brings out my eyes and doesn't have patterns, logos or anything to distract from the performance. For Skype auditions, you have to be more aware of what you are wearing and how it translates on screen because that is the first and only impression you are giving, since they are not seeing you in person. Unlike in person audition, you have control of what angles are flattering to you while filming and how you can position yourself in the designated space for the best performance. Basically an advantage with Skype auditions is you are your own director, whereas in a regular audition setting you are given direction by whoever is in the room.Q: Have you done any other types of web or taped auditions? How do they differ?I've sent in many taped auditions over the years because I would be submitted in Los Angeles while living in New York or vice versa. Taped auditions are a piece of cake once you get the hang of them because you can give yourself as many takes as you need. For someone like me who's a bit of a perfectionist, it becomes sort of an issue because no matter how good the take might be I'll always say, "Let's do one more just in case." since Skype auditions are live, you have to be great from the moment your face lights up the screen because you won't have a second chance to film it.Q: how did you get all the tools that you needed (lighting, location, etc) to host the Skype audition?Once an actor realizes how vital it is advance with the changing times in order gain expose to more opportunities, they begin to learn the tools necessary to make their Skype'ing and self-auditions more successful. Lighting is everything! I can't believe to this day how many of my actor friends (especially from a theatrical background) don't understand how to properly light their faces so it is flattering, yet also clear on camera. I prefer to use natural light so I try and find a good area around the house with a big open window and position my laptop in the opposing direction so the light hits my face first. If it is done during the evening, I would get a desk lamp (or two) and just line them up a few feet away, in about a 45 degree angle, with the light facing in my direction. If you don't have anyone helping you, you can always do a little test by filming it or snapping a photo to see how it looks. In terms of quality of sound, you have to make sure you don't hear cars or crying babies in the background because it always takes the person watching you on-screen away from the scene. And I mentioned before, but wardrobe is also an important factor many actors don't pay attention to as much as they should: a professor of mine at USC, Joseph Hacker, had an entire lesson on the importance of dressing the part (to an extent) so we would understand how wardrobe choices can help or hinder the audition process and this is especially important if you are filming the audition yourself.Q: is there anything you learned from Skype auditioning that you would try to do better, or differently, next time?Just as in any audition, you want to be completely open to creativity and notes from whoever is watching you. When I had my first Skype audition, it was with the director of the project and it was a more intimidating environment that I anticipated; overall, it just felt like such a foreign concept to me. I couldn't really get in my zone because the entire process was so different then what I was used to. I think with Skype auditions it's important for the actors to remember that it is still about your performance so whatever you need to do to make yourself comfortable, do it before the opportunity arises. Next time a Skype audition comes up, I think overall I will be more prepared because now I know what to expect and how to deliver; as they say practice makes perfect.Some technical help from...Angelita Ali - Senior Editor & Producer at Reel ServicesWhen recording in any setting make sure you know your frame. If your camera cuts off at a certain place, you would want to make sure you stay in frame, especially if it's a tight shot. Lighting is very important. Most camcorders can do a really bad job if used in poor lighting situations and can produce grainy, washed-out video. Bring as much light into the room as you can. But be careful not to cast shadows. It would take a while to go through a whole proper lighting setting, but as a tip, just make sure there is enough lighting on your face. When the lights are low, another tip is to disable the autofocus, otherwise you risk getting that annoying pulsing effect from the lens trying to lock onto a subject. But when disabling the auto focus, make sure you properly manually focus your shot before taping.For sound, most microphones built into most camcorders are fairly basic, recording audio from any direction. Be careful with the position of the camera because if people are laughing or talking around you, it will pick up their audio as well. Your best bet is to get as close to the microphone as possible without sabotaging the shot.Adding more encouraging audition advice...Christina Calph - ActressFluent in four different languages: English, Italian, French, Spanish - Christina Calph also speaks hilarious comedy. You can catch her in films such as Arthur and Town Heist, as well as many other comedy, modeling and legit projects.Q: Have you auditioned via Skype?I have auditioned via Skype before and it got me a role in an indie film shooting in Florida. I was apprehensive at first about auditioning on Skype, but I realized sometimes they are based out of state so it's hard for them to make an audition in the city. Therefore, I would Google all people involved to get a sense of their credibility. If they didn't have any links or web sites available to talk about their work, I would pass on the audition.Q: Do you audition for Skype any differently than in person / is there anything you take into consideration?I do not move around or out of my seat unless they direct me to. I use or mime props the same way I would an audition but I try to stay in the frame of the screen.Q: Did you also have to tape your side of the Skype audition?No. I am not sure why someone would require the actor to tape the audition. I feel that is more for casting to remember your work. But I guess it could be good to look back and watch how the audition went.Q: have you done any other types of web or taped auditions? How do they differ?I've had to put myself on tape for projects. Sometimes I've had to email links directly or upload the footage to YouTube, privatize it and then send the link. People have their own unique ways of auditioning these days. Bottom line, nothing differs. If they like you, they will like you no matter what you decide to do or how you decide to do it. People say there are different techniques, I disagree. Be true to yourself, your performance and you should be fine. Do not cloud your head with what you should or shouldn't do because that will lose the joy in what is YOU!Q: How did you get all the tools that you needed (Lighting, location, etc) to host the Skype audition?I wouldn't change it from a regular Skype call to a friend. They are asking you to Skype from home so that is what they should expect. However, if you feel insecure about the location, transform it to what makes you feel good. At the end of the day, it is about you and the energy you let out...There are no right answers in this career, do what makes you feel successful and you will be!Q: Is there anything you learned from Skype auditioning that you would try to do better, or differently, next time?I love auditioning for Skype because it allows you to be comfortable with the person who is auditioning you. There are no time limits. I would be a little more relaxed with it and more confident with my delivery.

]]>https://www.nycastings.com/skype-auditions-advice-on-how-to-rock-them-2/feed/0From Small Town to Big City – Following Your Dreamhttps://www.nycastings.com/from-small-town-to-big-city-following-your-dream/
https://www.nycastings.com/from-small-town-to-big-city-following-your-dream/#commentsMon, 01 May 2017 16:10:34 +0000http://www.nycastings.com/?p=9123So, you live in Small Town, USA and want to make it to the Big City. How do you do it? There are numerous steps and options. But let’s start with voice lessons, acting class, dance class, auditioning, networking, and working side jobs until you hit your big break. So whether you studied musical theatre […]

]]>So, you live in Small Town, USA and want to make it to the Big City. How do you do it? There are numerous steps and options. But let’s start with voice lessons, acting class, dance class, auditioning, networking, and working side jobs until you hit your big break. So whether you studied musical theatre at a conservatory or you are just starting out in the business, the following tips are for everyone. This is a career of a little bit of luck and alot of hard work.
Audition for local theatres
If the acting or singing bug hits you from a young age (as it often does), start by auditioning for your school and/or community theatres. Many schools and local theatre companies are turning out top-notch productions. Participating in these shows can teach you valuable lessons of the theatre, i.e.: always be on time, never touch another actor’s prop, come to rehearsals focused and prepared, be courteous to ALL actors and crew members, honor stage traditions (saying “break a leg” instead of “good luck”), and many more. If you have never auditioned before, talk to the director. They are there to help you learn and should be more than willing to give you some good tips and advice. Get some experience under your belt and you’ll be one step further towards reaching your goal.
Take a class, practice, repeat
Pretty self-explanatory, yet so important. Take voice lessons, acting classes and dance classes. You will never be done learning something new, no matter how naturally talented you are. These lessons will not only provide you with valuable information about technique and performance, but they will also increase your confidence level with each new advancement you make.
Networking
If you’re not one to network, now is the time to start. So many of you are probably tired of hearing “it’s who you know”, but often it really is who you know. You want those directors or casting directors to have YOU in mind before they even hold auditions. So, start by always accepting invitations to networking-type events. Be charming, yet sincere. Don’t put on a performance, save that for the audition. Stay in touch and follow up with different people and projects. Networking doesn’t have to be so bad. Just remember, you may be making friends and colleagues for the rest of your life.
Make the move
Ready to head to the Big Apple? Take the leap. It’s much easier to start auditioning for bigger productions in the city that holds many of those auditions.
Be Prepared to job-hunt
It’s not very often actors and musicians will score a theatre job after a few auditions. So be prepared to find a side job- waiting tables, nannying, office work, etc. And don’t feel bad or unsuccessful because you have to work another job. Those countless hours of waiting in line for auditions will remind you just how committed you are to your passion.
Bigger Auditions
Get that audition book ready, and buy some good standing shoes. As mentioned before, be prepared to stand in substantial lines for any given audition. Visit a good casting site (hey, you’re already here!) and audition for as much as you can. Many professional theatre auditions will say AEA only (Actors’ Equity Association), but if there is time, casting directors will often see non-AEA actors at the end. You can’t get the job if you don’t try.
Obviously, there are quite a few other steps to consider when committing to a career in theatre. But the big things to remember are keeping up with your craft and staying motivated. It may take months, it may take years- but you’ll never know unless you put forth the effort.

]]>On Sunday night, the Screen Actors Guild (SAG) Awards revealed this year’s winners at Los Angeles’ Shrine Auditorium. Now in its 23rd year, the ceremony recognized the best performances in both motion pictures and television. Check out the complete list of nominees below as they are added.

Dance Terms Glossary

Ballet

adagio: A music term used for slow, sustained movements. The ‘adagio’ portion of ballet class may encompasses high développés above 90°, or partnering work.

allegro: Rapid tempo movements, often includes jumping steps. Petit allegro includes smaller jumping steps. Grand allegro includes large expansive jumps such as grand jeté.
arabesque: The gesture leg is extended behind the dancer’s body at 90° or higher, which requires hip and spine hyperextension, knee extension, and ankle-foot plantarflexion.
arrière, en: To the back.
assembly: To assemble or place (the feet) together in the air (usually in fifth position) during a jump.
attitude: The hip of the gesture leg is at 90°, the knee is bent, and the foot is pointed. Attitude croisée devant: the leg is lifted to the front. Attitude croisée derriere: the leg is lifted to the back.
avant, en: To the front.
Balanchine: Founder, director, and principle choreographer of New York City Ballet. Trained in the Russian school, he developed a neo-classical technique known for rapid footwork and abstract choreography.

balloon: The quality of lightness, ease in jumping.
ballot: “Tossed”. A light, rocking quality, jump sequence. Ex: A jump from the point tondu front back.

barre: The introductory / warm up portion of the ballet class, conducted while holding onto a ballet bar. The dancer always starts with the left hand at the bar, working the right gesture leg.
beats: To hit the legs together, moving in and out of fifth position in the air. See petite batterie.

Bourrée: A step performed on pointe from fifth position. Initiated with the front foot, there is a rapid weight shift from one foot to the other, performed in place or traveling.
brisé: A jumping beat which allows the dancer to travel in a specified direction.
cabriole: “Caper like a goat”. A jump where one leg is kicked up into the air and the supporting leg pushes off and beats underneath the gesture leg, propelling it higher. The jump lands on the kicking leg.
camber: A bend of the body from the waist to the front, back, or side, with an accompanying port de bras.
Cecchetti Method: A school and style of ballet, originated by Enrico Cecchetti (1850-1928) in Italy. Emphasizes seven basic movements in dance: Plier (to bend), Étendre (to stretch), Relever (to rise), Glisser (to slide or glide), Sauter (to jump), Élancer (to dart), Tourner (to turn). Used by the Italian and Royal (English) Ballets.
center floor: The second portion of the ballet class, comprised of the adagio, turns, and small jumps (petit allegro).
chains: “Linked like a chain”. A series of small turning steps with the feet in first position relevé. Weight is shifted rapidly from one to the other limb with each half turn. Performed continuously in rapid succession.
changement: “Changing the feet”. A vertical jump with a change of feet in the air (from fifth position front to fifth back).
chase: “Chasing one foot with the other”. The leading foot slides forward into fourth (or side-ward into second), then with a spring off the floor, the stance limb draws up to it in the air, and the leading foot opens to land in fourth (or second). Used as a traveling or transition step.
coy-de-pied: A unilateral standing posture with the pointed gesture foot held in front of, back of, or wrapped around the ankle of the stance leg.
coupé: “To cut”. A small intermediary step, used as a link between steps, such as jeté, pas de bourré, etc., using the cou-de- pied position.
croix, en: “Cross”. Unilateral leg gesture carried out in three directions relative to the dancer’s front (en avant), side (a la seconde), and back (en arrière), making the shape of a cross. Typical barre exercises (tondu, dégagé, dévelopé, frappé, grand battement, etc. are performed en croix.
dedans, en: Inward. A circular movement of the gesture limb from the back to the front (as in ronde de jambe), or a turn done toward the stance limb.
dégagé: “To disengage”. Sharp brushes of the pointed foot to develop speed and precision of the feet and legs.

dehors, en: Outward. A circular movement of the gesture limb from front to back, or a turn which moves away from the stance limb.
demi: Half. As in demi-plié.
derrière: Behind.
devant: In front.
dèveloppé: A large, relatively slow leg gesture. The gesture limb begins from first or fifth position, passes through passé, to extend at 90° or higher to the front (en avant), side (a la seconde), or back (en arrière - arabesque).
elevé: A rise upward onto the toes.
échappé: “Escape”. A two-part movement from fifth position out to second (or fourth), and returning to fifth again, either with a jump or en pointe.
envelope: A unilateral leg movement in which the gesture limb begins in a knee extended position away from the body, and ‘folds’ back into the body. (The reverse of a dèveloppé).
épaulement: Position of the shoulders in relation to the head and legs. Sets the head-neck, back, shoulder girdle, and port de bras in a codified relationship.
fifth position: The legs are externally rotated, one foot is crossed in front of the other, with forward toe touching the back heel.
first position: The legs are externally rotated, and heels are together.
fondu: “Melted”. A slow demi-plié of the stance limb, bringing the gesture limb into cou-de-pied, followed by simultaneous extending of both knees to end in dèveloppé (battement fondu dèveloppé) or tondu (battement fondu simple) as specified.
fouetté: A “whipping’ en dehors turn, in relevé, requiring coordinated dèveloppé devant,whipping the gesture leg to second, and returning it to passé, with opening and closing port de bras. The opening and closing action of the gesture leg and arm create spin of the stance limb, allowing it to turn.
fourth position: The legs are externally rotated, one foot is crossed in front of the other, separated by the distance of one foot.
frappé: Beginning from the cou-de-pied position, a rapid striking ricochet (off the floor) of the gesture foot, ending in a pointed position. Develops strength and precision of the gesture limb.

glissade: “Slide or glide”. A linking or preparatory step. The initiating leg slides out into dégagè, weight is transferred to it to allow the other leg to point and slide into fifth. It can be performed slow (adagio) or fast (allegro), but is always smooth and continuous.
grand: Large.
grand battement: A large, swift leg “kick” with the knee extended and foot pointed. Performed to the front, side, or back and from first, fifth, or the point tondu.
grand ronde jambe en lair: A unilateral, circumducted hip action where the gesturing limb describes a semi-circle in space at > 90° of hip flexion.
jets: A “throwing step” where a leaping jump is executed from one foot to the other. The forward leg battements to the front, and the other leg follows in arabesque. (May also be executed to the side).
lair: In the air.
pas: Step.
pas de basque: A traveling step from fifth position plié, which includes one 1/2 ronde de jambe from front to side, weight transfer to this leg, and closure into fifth plié.
pas de bourrée: A basic linking step which permits a change from one fifth position to another.
pas de chat: “Step of the cat”. A jump beginning and ending in fifth position.
passé: Similar in shape to the retiré: the hip is abducted and externally rotated, the knee is bent, the foot is pointed, and the toe touches the knee of the stance limb. However, the passé is a transitional movement as the foot passes on its way to another position (such as dèveloppé).
penuche: Inclined. Usually arabesque penché, in which the torso and gesture limb are tilted forward from the hip. This directs the torso and focus toward the floor.
petite: Small, little.
petite batterie: “Beats”. During a sauté, one calf beats against the other. The number of beats have specific terms: royale (from fifth position, the front leg beats in front and closes back), entrechat quatre (from fifth position, the front leg beats in back and closes front), etc.

piqué: “Pricked”. A step in which the body moves sharply onto the pointe or demi-pointe of the opposite foot. This action can be immediately followed by a turning motion, known as a piqué turn.
pirouette: “Whirl or spin”. A controlled turn on one leg in relevé. The gesture leg may be held in retiré (passé), seconde, attitude, cou-de-pied, etc. The turn may be performed en dedans or en dehors.
plié: A bend of the knees while the torso is held upright. The action relies on varying degrees of hip and knee flexion, with ankle and MTP dorsiflexion, depending on whether the plié is demi- or grand.
pointe, en: On pointe. Position of the foot in a pointe (or toe) shoe, in which the dancer stands on the toes.
port-de-bras: Carriage of the arms. The codified arm positions which provide strength and balance to the trunk, and may also serve as gesture or enhancement of focus.
port-de-corps: Carriage of the body. Basically, port-de-bras action supplemented with flexion, lateral flexion, or hyperextension movement of the spine.
promenade: A slow pivot of the body while standing on one leg.
relive: A rise or spring onto the toes (demi- or full pointe) from plié.
retire: A static position in which the hip of the gesturing leg is externally rotated and abducted, the knee is flexed, and the foot is pointed and touching the knee of the stance limb.
reverence: “Bow”. Traditional port-de-bras and port-de-corps showing respect and gratitude to the ballet master or audience.
ronde de jambe: A unilateral leg action in which the gesture leg is circled from front to back of the dancer’s body, or vice versa. May be performed on the ground (a terre) or in the air (en l’aire).
sauté: A simple jump in the vertical direction.
seconde, la: To the side (second position).
second position: The legs are externally rotated and separated by the distance of one foot, in the frontal plane.
sissonne: A jump from two feet onto one foot in various directions.
soussus: Springing into fifth position relevé en pointe or demi-pointe from demi-plié.
soutane: From demi-plié on the stance leg and pointe tondu with the gesture leg. Rising to demi-pointe while simultaneously drawing the gesture leg into fifth.

tendu: A “stretched” action of the gesturing limb from a stance position with flat foot to a pointed foot, with the toes keeping contact with the floor.
terre, a: On the ground.
third position: The legs are externally rotated, and one heel is placed in front of the other.
tour: Turn of the body.
tour en lair: “Turns in the air”. Sauté which incorporates airborne rotations. Primarily performed by men.
tour jets: A jeté which incorporates an angular rotation of the body and switching of the legs in mid-air.
tourant, en: Turning.
Vaganova Method: A school and style of ballet developed by Agrippina Vaganova (1879-1951) in Russia. Most of the Russian ballet syllabus is based on this style.
Ballroom Dancecha-cha: The most popular Latin dance composed of quick steps.
fox trot: A dance to a 4/4 tempo.
polka: Originated as an English folk dance, in a 2/4 tempo.
swing: Evolved from the jazz era. There are three types: triple, double, and single, depending on the tempo of the music. Uses a hold similar to the fox trot. Also known as the lindy.
waltz: An elegant smooth dance in a 3/4 tempo, with accent on the first beat.
Modern and Jazz Dancebody roll: A rolling movement through the body.

bridge: Also called a back bend.
chest lift: With back on the floor, chest lifts off the floor.
compass turn: Like an arabesque turn, but the toes stay in contact with the floor.
coccyx balance: Balance on the coccyx, both knees bent with lower legs parallel to ceiling and feet pointed, torso may tilt slightly backward, arms are parallel with lower legs. [Horton technique].
contraction: Tightening the abdominals, tucking the pelvis, and forming a “C” with the torso so that the shoulders are over the pelvis. [Graham technique].
fan kick: A high straight leg kick in which the gesture leg makes a swooping circular arc across the front of the body.
flat back: Position in which the legs are in parallel, the back is kept flat, parallel to the floor, with the torso hinged at the hips. [Horton technique].
flea slide: Slide on a diagonal line in passé.
forced arch: Weightbearing position of the foot in which the heel is lifted and the knee is bent with extreme metatarsal dorsiflexion.
Graham technique: A modern dance technique developed by Martha Graham, based on “contraction and release” as the motivation of all movement. Includes term such as spiral, tilt, and pitch turn. Used in the choreography of Graham, Ailey, and Elisa Monte companies.
isolations: Moving one part of the body, such as the head, shoulder, ribs, or hips, while the rest are immobile.
jazz frame: Arms are crossed overhead with fingers in jazz hands.
jazz hand: Fingers are spread.
hinge: Legs are in parallel, pelvis is pressed diagonally forward, torso tilted diagonally backward, knees are bent and approximately 3” off the floor, heels are raised to 1/4” relevé. [Horton technique].
Horton technique: A modern dance technique which was developed from a balance study by Lester Horton. Includes terms such as flat back, primitive squat, T, table, and stag. Used within the choreography of companies such as Ailey, Philadanco, and Tristler.

Humphrey technique: A modern dance technique based on the concept of “fall and recovery”, developed by Doris Humphrey. A predecessor and mentor to José Limón of Limón technique.
knee hinge: A tilt of the torso in which the knees are bent and at a 45° angle, the back is flat, and the heels are lifted. [Horton technique].
lateral: A side stretch of the torso, with legs in 2nd position. [Horton technique].
Limón technique: A modern dance technique developed by Jose Limón, which built on the concepts of Doris Humphrey and is based on the “fall, recovery, and rebound”. Used within the choreography of Limón, Falco, Muller, and Lubovitch.
lunge: A large, open fourth position in which one knee is bent (usually the front), and the other is straight.
primitive squat: Legs are in parallel, torso is straight, knees are fully bent, with heels remaining on the floor in a squat. [Horton technique].
release: A relaxing or arching movement.
Russian: Also called a toe touch jump in second position.
shimmy: Shoulder shaking: alternating in a rapid motion.
Sixth position: Feet in parallel, and together. (Also known as parallel first).
spiral: Rotation of the torso around the pelvis. [Graham technique].
stag: Leap in which the forward leg is in parallel passé and the backward leg is in attitude turned out. [Horton technique].
“V” Position: Position in which the arms, legs, and body make a “V” shape.
wrist press: Flexing the hand and pushing the palm away from the shoulder.
Tap Danceball change: Two quick changes of weight from one ball of the foot to the other.
bells /clicks: Clicking of the heels together while in the air.

break: Two measure movement that follows a six measure movement. A slight change in the normal rhythm of a movement pattern.

brush: Striking of the ball of the foot or the toe tap against the floor. This is usually done in a direction. A backward brush is called a spank.
buck / chug: Forward movement emphasizing the heel drop with weight on the same foot.
buffalo: Step consisting of a step, shuffle, and a leap. forward or sideward

Cincinnati: A brush, hop on the opposite foot, shuffle and a step. This step is performed traveling backwards and alternates feet.
cramp roll: Step using toe and heel drops in a specific pattern.
dig: Digging of the heel into the floor without weight transfer.
draw: Pulling of the free foot from an open to a closed position with a sliding motion.
essence: Basic movement associated with soft shoe dancing.
flap: Brush and step with transfer of weight.
heel / heel drop: Forceful dropping of the heel on the floor, with the weight placed on the ball of the same foot.
hop: Jump into the air, landing on the same foot and keeping the heel lifted.
Irish: Movement adopted from Irish folk dances which consists of a shuffle, hop, and a step. This can be done traveling forwards or backwards.
jump: Spring into the air from both balls of the feet and landing on the same.
leap: A spring into the air, from one foot to the other.
Maxie Ford: Step named for a famous dancer. Consists of a step, shuffle, leap, tap.
nerve roll: Series of quick, consecutive taps with heel, ball, toe, or tips.

off beat: Unaccented beat.
pick-ups/pullbacks: Hop on one foot with a back brush in the air, landing on the same foot. Can be done as singles, doubles, or alternating. Shuffles and taps can also be added.
rhythm: Pulse of the music. Rhythm dance is composed of broken rhythms, syncopation, and off beats.
riff: Movement combining a brush and a scuff on the same foot.
riffle: Riff combined with a spank.
scuff: Forward movement hitting the heel of the foot on the ground.
scuffle: Scuff followed by a spank.
shim-sham: Name of a time step dance.
shuffle: Brush followed by a spank.
slap: Flap without weight transfer.
soft shoe: Type of dance, originally done without shoes.
spank: A backward brush of the ball of the foot.
stamp: Step onto the entire foot with weight transfer.
step: Step onto the ball of the foot without weight transfer.
stomp: Stamp without weight transfer.
syncopation: Accenting the weak part of the beat.
tap: Striking the ball of the foot without weight transfer.
time step: An eight measure movement, used to set the tempo.

toe drop: Dropping the toe with weight on the foot.
toe stand: Movement in which the dancer stand on the tips of the tap shoes: “en pointe”.
toe tip: Striking the tip of the tap shoe against the ground.
triplet: Three sounds, usually a shuffle step.
waltz clog: A dance in 3/4 time.
wings: With weight on one foot, a hop into the air while scraping the edge of the tap shoe on the ground. A brush is then done before landing on the same foot.